November 1, 2023 • 20 mins
As Paul McCartney’s life moved further away from the centering force of Liverpool, the distance, both physical and cultural, started becoming increasingly apparent. It's a distance described by Paul as inevitable, if regrettable. “Uncle Albert / Admiral Halsey” is Paul’s expression of the dual longing for home one can experience while also longing to create a new life full of adventure. Released on Paul and Linda’s “RAM” album in 1971, the song is layered with meaning and references to his contradictory feelings.
“McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries.
The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O’Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman and Scott Rodger.
Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:14):
Pushkin. Hi everyone, it's Paul Moldoin. Before we get to
this episode, I wanted to let you know that you
can binge all twelve episodes of McCartney A Life and
Lyrics right now, add free by becoming a Pushkin Plus subscriber.
(00:35):
Find Pushkin Plus on the McCartney A Life and Lyrics Show,
pedge in Apple Podcasts, or at pushkin dot fm, slash Plus.
Speaker 2 (00:49):
We're so sorry.
Speaker 3 (00:52):
Uncle.
Speaker 4 (00:55):
So we look at Uncle Albert and cloudbut yeah, I
actually had an uncle Loudus.
Speaker 2 (01:02):
We're so sorry, Uncle.
Speaker 4 (01:06):
Loud Cloud work with my dad in cotton firm. Dad
was a salesman. Cloud, I think was there is something
a little higher. We certainly had more money, but it
was you know, our family gatherings were always very great,
(01:26):
very friendly, very humorous occasions, and they would get pissed.
Speaker 2 (01:32):
A lot of the.
Speaker 4 (01:33):
Uncles were were referred to as piss artists. They drink
a bit, They would drink a little.
Speaker 2 (01:41):
Sorry Cloud that would stand.
Speaker 4 (01:43):
On the table and recite the Bible for some reason,
you know, keep everyone straight and in the way of
the light.
Speaker 1 (02:14):
I'm Paul Moldeu and I've been fortunate to spend time
with one of the greatest songwriters of our era, and.
Speaker 2 (02:22):
Will you look at me? I'm going up to I'm
actually a performer.
Speaker 1 (02:26):
That is, Sir Paul McCartney. We worked together on a
book looking at the lyrics of more than one hundred
and fifty of his songs, and we recorded many hours
of our conversations.
Speaker 4 (02:39):
Actually I'm a songwriter, My god, well that cryptja homie.
Speaker 1 (02:44):
This is McCartney. A life in lyrics, a masterclass, a memoir,
and an improvised journey with one of the most iconic
figures in popular music in this episode, Uncle Albert Admiral Halsey.
(03:14):
In nineteen sixty three, their manager Brian Epstein, relocated the Beatles'
base operations to London. By the end of the nineteen sixties,
when Paul McCartney wrote Uncle Albert, his old life in
Liverpool seemed far away.
Speaker 4 (03:32):
I'd moved away from Liverpool quite firmly by this point,
and I wouldn't see the family anywhere near us. Regularly.
We might go back up for a New Year's Eve party.
After I moved to LEMOI would sometimes throw a New
Year's party with the idea of reassembling family in the
good times.
Speaker 2 (03:55):
So there were a lot of jokes, a lot of songs,
a lot of wit, a lot of play. All my
uncles I can't think of.
Speaker 4 (04:04):
War wasn't funny, but it became less less as time
went on, they became less nless they died.
Speaker 2 (04:13):
So the older generation, my dad's generation, and they're all
gone there.
Speaker 4 (04:18):
So yeah, there was a nostalgic feeling for you know that,
and also this feeling of I've moved myself so far
out of what you know, what Uncleod knows about the
cotton exchange, and then getting up on the table and
getting drunk and you're smoking his pipe.
Speaker 1 (04:40):
As Paul McCartney left his family behind in Liverpool, he
was also leaving behind an era of war and poverty
that framed the decades of his youth, the nineteen forties
and nineteen fifties.
Speaker 5 (04:55):
This is a part of Liverpool, a city of nearly
a million inhabitants and one of the biggest ports and
shipbuilding areas in the world. During the war, it was
a target for air raids which laid waste whole areas.
Speaker 1 (05:05):
Even though they were surrounded by these bombed ey item areas,
the McCartneys weren't directly affected by the war. Paul's father
worked at a cotton mill and his mother was a nurse.
It was a striving working class home, but the effects
of the war were still very much felt in Liverpool,
(05:28):
a city which throughout the nineteen fifties had rationing protocols
in place and was littered with bomb sites.
Speaker 2 (05:37):
I've moved away from all that.
Speaker 4 (05:38):
It was just like a say, if it had just.
Speaker 2 (05:43):
Just because of the circumstances of your life. Yeah, it
kind of gone mentally and were also physically. It was
in a film. Did you see that set? Drift off?
Speaker 5 (05:53):
Now the City Council are rebuilding fast. One of the
most interesting achievements of the council was to establish, over
one hundred years ago, public wash houses, where even now,
thousands of Liverpool housewives bring their weekly wash.
Speaker 1 (06:06):
On top of the physical distance McCartney had put between
himself and his hometown of Liverpool, he had also taken
up a lifestyle that was light years removed from his
humble beginnings.
Speaker 2 (06:19):
We're so sorry, Uncloud.
Speaker 4 (06:25):
We're not really saying I'm sorry, but I'm saying you
wouldn't get where I am now. I'm like in the Beatles,
I'm like living in a big house in London.
Speaker 2 (06:38):
But isn't it also saying I want to be with you.
Speaker 6 (06:42):
I'm so sorry if we course you any pain. There's
no one left from home, but I believe I've got
a right. It's just that a distance.
Speaker 2 (06:59):
I'm sorry. I'm not only by that. But you don't
want that distance.
Speaker 1 (07:03):
You yourself don't want that distance.
Speaker 4 (07:05):
I don't didn't talk. You didn't, well, I didn't. That's
like saying you don't want anyone to die. I mean,
it's it's an.
Speaker 2 (07:13):
Unfortunate reality, that distance. It must unless you still live
with your mom and dad. I gave you the one
and all my life.
Speaker 1 (07:28):
The Beetle's wild popularity meant that Paul was living an
extravagant life in London. His uncle Albert didn't actually do
much calling, but his aunt Jin would occasionally make the
trip down to check in.
Speaker 4 (07:46):
I mean, you go back into the sort of bosom
of your family when when your Auntie comes.
Speaker 2 (07:51):
To visits and you just do sort of all the
old things. And so I was.
Speaker 4 (07:56):
Just sort of sitting around playing a bit of piano,
and then in the evening sweet sort of sit around,
have a drink and play cards and just talk and
everything you know, and so originally come down. One of
the reasons she'd come down was to talk to me
about the sin of smoking pot. She'd been sent down.
(08:17):
She was they called it, used to call her control.
She've been sitting down as an emissary.
Speaker 2 (08:24):
And now who would have sent her on? The family?
Who know? Family? Who knows which one or how many?
I don't know.
Speaker 4 (08:34):
Really, I think you know the word that just got
back that ophole's going a bit wild in London, you know,
So go and check him out, Jinny.
Speaker 1 (08:44):
In the song, McCartney sings the first verse in a
tone aligned with his younger naive self, new to London,
far from home, apologizing for his departure, promising to get
in touch only if he has something to reports.
Speaker 4 (09:03):
So sorry we have.
Speaker 7 (09:09):
With those Sorry, So I'm saying I used to hear
from him a lot, and so now I'm saying we
(09:30):
haven't heard a thing all day.
Speaker 2 (09:32):
So sorry, uncle Alba. But if anything that should happen,
Moll be sure to give a ring. It's just that
sort of dismissive thing. Pat on my head will.
Speaker 1 (09:53):
Neither speaker of the song seems to talk down to
his relatives who cannot possibly understand his fabulous new life
in the city.
Speaker 4 (10:03):
Yeah, I just imagine him now as a character there
is Uncle Ab're so.
Speaker 2 (10:08):
Sorry, but we haven't done a bloody thing all day.
Speaker 4 (10:11):
And now I go into character now and am now
some sort of very arrogant poshtar.
Speaker 2 (10:18):
Now I'm also sorry, Oh, glam I'm not a bloody
thing all day, you know.
Speaker 4 (10:22):
So I live on another life here and I'm afraid,
you know, I'm dismissing you.
Speaker 2 (10:29):
So the act, the shift and accent is enough. I'm
trying to remember, Now, how do you do this? Yeah,
that's right here.
Speaker 1 (10:52):
By the time Paul McCartney wrote the song Uncle Albert
in nineteen seventy, even the shine of London had worn off,
the stodgy business meetings, the decline of the Beatles, fame
and glamour losing their luster. The band had once carried
the playful, spontaneous energy of their hometown, but at the
(11:17):
end of the decade this playfulness had fizzled out. Once again,
McCartney would have to create a new life.
Speaker 8 (11:38):
So then it goes into hands across the water across
This is more now bringing it, this is more Me
and Linda, Hands across the water you know, American and
British heads across the sky.
Speaker 1 (11:53):
I like that which a lot of hands across the water.
Speaker 2 (11:55):
It heads across the sky.
Speaker 6 (11:58):
It's interesting, it works for Anglo American.
Speaker 2 (12:04):
Yeah, sort of thing, couldn't get the same.
Speaker 1 (12:15):
As the song shifts into a kind of carellesque nursery rhyme,
another character enters the scene. This is William Bull Halsey,
an admiral in the American Navy during the Second World War,
and who you could tell from interviews wasn't an especially
nursery rhyme like character.
Speaker 4 (12:36):
We're not down, are planned. We have burned them. We
have drowned them, and I just planned to bury it.
Speaker 8 (12:45):
Are drowned?
Speaker 2 (12:47):
It does Halsey in any particular? Is that a historical
I don't know where I got any more Halsey from.
I wouldn't just read it or heard it somewhere.
Speaker 4 (12:57):
And then now I'm I'm in this arrogant of a
class person who's got into the song, and I'm just
having fun with it.
Speaker 2 (13:06):
I like that, Yes, he goes, So it's a play.
It basically, it's a little play, not elect.
Speaker 4 (13:13):
But I suppose if this was a play, you could
give these lines to different characters.
Speaker 2 (13:21):
Notified me I couldn't get to say I had another
link and I.
Speaker 3 (13:27):
Had a cup of bee and the butter pie.
Speaker 1 (13:34):
Admiral Holsey needs a birth to get to sea, but
the narrator is ignoring him, is too busy having a
cup of tea and some butter pie.
Speaker 2 (13:48):
The botter wouldn't also put it in the pie. I
like that.
Speaker 1 (14:03):
Amid the bleak negotiations surrounding the Beatles and the impossible
ability of returning home to Liverpool, McCartney found the humor
and lightheartedness he remembered from his extended family in his
new wife, Linda Eastman.
Speaker 2 (14:26):
But these this little little beer trips you get around.
This is me and Linda at that time, and this
is sort of what we did. Ye what did you do?
I was saying we wanted to escape the rigid systems
we were living in.
Speaker 4 (14:44):
Mine was apple business, Alan Cline takeovers all of that.
Speaker 2 (14:52):
And I always I wanted to buy my own Christmas tree.
I didn't want the office to send a Christmas tree
around for it. That's a great, great webn't it. I
started actually doing.
Speaker 4 (15:04):
That, or chapping one down in the forest in the
back of the land ro it's not as strong as
a rebel, but we're rebellious rebels with a sense of humor.
Speaker 2 (15:24):
That we were doing all sorts of things like that
would involved.
Speaker 4 (15:27):
With like the animal activists getting on Christmas tree. Then
it would be cooking and stuff. We go vegetarian, and
now she's going to figure out how we do Christmas turkey.
So we do a macaroni turkey. It's like mac and cheese,
but it goes solid and then we'd slice it and
we'd have that as a macaroni turkey.
Speaker 1 (15:52):
Paul and Linda managed to cut free and establish not
only a new family, but a creative partnership. The song
Uncle Albert, credited to the Husband Wife Doo, was number
one on the American charts. In their new, more bohemian lifestyle,
(16:24):
Paul and Linda could also establish the family life they wanted,
filled with joyous humor and fun. It was perhaps this
experience raising children on the farm that inspired McCartney to
write about his extended family back in Liverpool, his uncle Albert,
(16:44):
who had countered the war with a similar sense of humor.
Speaker 4 (16:49):
There was a good up from me, and I thought
everyone's families were like that, John. I'm here about his
family life. It was like, yeah, so I really praised
my family for that.
Speaker 2 (17:04):
It was so rich. It really was rich. And I
think of what I am and.
Speaker 4 (17:10):
A lot of what I write about a lot of
what I think is that. And I often say I've
met a lot of very amazing influential people in the world.
Speaker 1 (17:23):
Yeah that'ch a Barack Palmer, you know, the one and only,
Sir Paul McCartney.
Speaker 2 (17:31):
Thank you so much. Oh, some of my li.
Speaker 4 (17:35):
Family I think was better. They just had something going
for them. Besides this niceness and besides this good maness.
Sense of humor was ridiculous. They were always being funny.
And my theory is because they just got out of
a bloody war.
Speaker 2 (17:56):
Unlike a lot of their friends, they just escaped being bond.
Speaker 3 (18:15):
We're so sorry, but we had a day old day.
We're so sorry, Uncle album.
Speaker 2 (18:30):
Day Heaven.
Speaker 1 (18:32):
We'll be sure, Uncle Albert Admiral Holsey from Paul and
Linda McCartney's nineteen seventy one album Ram, but we.
Speaker 2 (19:02):
Have a plentyday.
Speaker 3 (19:07):
We're so sorry.
Speaker 2 (19:16):
Tomorrow were.
Speaker 1 (19:20):
Away in our next episode.
Speaker 4 (19:44):
And if I said.
Speaker 3 (19:47):
I really knew you, well, what would your answer be?
Speaker 4 (19:54):
If you read a day.
Speaker 1 (20:01):
Here Today a love song to John Lennon, had a
conversation that never took place. McConn Cockney A Life in
Lyrics is a co production between iHeartMedia NPL and Pushkin
Industries
Pushkin. Hi everyone, it's Paul Moldoin. Before we get to
this episode, I wanted to let you know that you
can binge all twelve episodes of McCartney A Life and
Lyrics right now, add free by becoming a Pushkin Plus subscriber.
(00:35):
Find Pushkin Plus on the McCartney A Life and Lyrics Show,
pedge in Apple Podcasts, or at pushkin dot fm, slash Plus.
Speaker 2 (00:49):
We're so sorry.
Speaker 3 (00:52):
Uncle.
Speaker 4 (00:55):
So we look at Uncle Albert and cloudbut yeah, I
actually had an uncle Loudus.
Speaker 2 (01:02):
We're so sorry, Uncle.
Speaker 4 (01:06):
Loud Cloud work with my dad in cotton firm. Dad
was a salesman. Cloud, I think was there is something
a little higher. We certainly had more money, but it
was you know, our family gatherings were always very great,
(01:26):
very friendly, very humorous occasions, and they would get pissed.
Speaker 2 (01:32):
A lot of the.
Speaker 4 (01:33):
Uncles were were referred to as piss artists. They drink
a bit, They would drink a little.
Speaker 2 (01:41):
Sorry Cloud that would stand.
Speaker 4 (01:43):
On the table and recite the Bible for some reason,
you know, keep everyone straight and in the way of
the light.
Speaker 1 (02:14):
I'm Paul Moldeu and I've been fortunate to spend time
with one of the greatest songwriters of our era, and.
Speaker 2 (02:22):
Will you look at me? I'm going up to I'm
actually a performer.
Speaker 1 (02:26):
That is, Sir Paul McCartney. We worked together on a
book looking at the lyrics of more than one hundred
and fifty of his songs, and we recorded many hours
of our conversations.
Speaker 4 (02:39):
Actually I'm a songwriter, My god, well that cryptja homie.
Speaker 1 (02:44):
This is McCartney. A life in lyrics, a masterclass, a memoir,
and an improvised journey with one of the most iconic
figures in popular music in this episode, Uncle Albert Admiral Halsey.
(03:14):
In nineteen sixty three, their manager Brian Epstein, relocated the Beatles'
base operations to London. By the end of the nineteen sixties,
when Paul McCartney wrote Uncle Albert, his old life in
Liverpool seemed far away.
Speaker 4 (03:32):
I'd moved away from Liverpool quite firmly by this point,
and I wouldn't see the family anywhere near us. Regularly.
We might go back up for a New Year's Eve party.
After I moved to LEMOI would sometimes throw a New
Year's party with the idea of reassembling family in the
good times.
Speaker 2 (03:55):
So there were a lot of jokes, a lot of songs,
a lot of wit, a lot of play. All my
uncles I can't think of.
Speaker 4 (04:04):
War wasn't funny, but it became less less as time
went on, they became less nless they died.
Speaker 2 (04:13):
So the older generation, my dad's generation, and they're all
gone there.
Speaker 4 (04:18):
So yeah, there was a nostalgic feeling for you know that,
and also this feeling of I've moved myself so far
out of what you know, what Uncleod knows about the
cotton exchange, and then getting up on the table and
getting drunk and you're smoking his pipe.
Speaker 1 (04:40):
As Paul McCartney left his family behind in Liverpool, he
was also leaving behind an era of war and poverty
that framed the decades of his youth, the nineteen forties
and nineteen fifties.
Speaker 5 (04:55):
This is a part of Liverpool, a city of nearly
a million inhabitants and one of the biggest ports and
shipbuilding areas in the world. During the war, it was
a target for air raids which laid waste whole areas.
Speaker 1 (05:05):
Even though they were surrounded by these bombed ey item areas,
the McCartneys weren't directly affected by the war. Paul's father
worked at a cotton mill and his mother was a nurse.
It was a striving working class home, but the effects
of the war were still very much felt in Liverpool,
(05:28):
a city which throughout the nineteen fifties had rationing protocols
in place and was littered with bomb sites.
Speaker 2 (05:37):
I've moved away from all that.
Speaker 4 (05:38):
It was just like a say, if it had just.
Speaker 2 (05:43):
Just because of the circumstances of your life. Yeah, it
kind of gone mentally and were also physically. It was
in a film. Did you see that set? Drift off?
Speaker 5 (05:53):
Now the City Council are rebuilding fast. One of the
most interesting achievements of the council was to establish, over
one hundred years ago, public wash houses, where even now,
thousands of Liverpool housewives bring their weekly wash.
Speaker 1 (06:06):
On top of the physical distance McCartney had put between
himself and his hometown of Liverpool, he had also taken
up a lifestyle that was light years removed from his
humble beginnings.
Speaker 2 (06:19):
We're so sorry, Uncloud.
Speaker 4 (06:25):
We're not really saying I'm sorry, but I'm saying you
wouldn't get where I am now. I'm like in the Beatles,
I'm like living in a big house in London.
Speaker 2 (06:38):
But isn't it also saying I want to be with you.
Speaker 6 (06:42):
I'm so sorry if we course you any pain. There's
no one left from home, but I believe I've got
a right. It's just that a distance.
Speaker 2 (06:59):
I'm sorry. I'm not only by that. But you don't
want that distance.
Speaker 1 (07:03):
You yourself don't want that distance.
Speaker 4 (07:05):
I don't didn't talk. You didn't, well, I didn't. That's
like saying you don't want anyone to die. I mean,
it's it's an.
Speaker 2 (07:13):
Unfortunate reality, that distance. It must unless you still live
with your mom and dad. I gave you the one
and all my life.
Speaker 1 (07:28):
The Beetle's wild popularity meant that Paul was living an
extravagant life in London. His uncle Albert didn't actually do
much calling, but his aunt Jin would occasionally make the
trip down to check in.
Speaker 4 (07:46):
I mean, you go back into the sort of bosom
of your family when when your Auntie comes.
Speaker 2 (07:51):
To visits and you just do sort of all the
old things. And so I was.
Speaker 4 (07:56):
Just sort of sitting around playing a bit of piano,
and then in the evening sweet sort of sit around,
have a drink and play cards and just talk and
everything you know, and so originally come down. One of
the reasons she'd come down was to talk to me
about the sin of smoking pot. She'd been sent down.
(08:17):
She was they called it, used to call her control.
She've been sitting down as an emissary.
Speaker 2 (08:24):
And now who would have sent her on? The family?
Who know? Family? Who knows which one or how many?
I don't know.
Speaker 4 (08:34):
Really, I think you know the word that just got
back that ophole's going a bit wild in London, you know,
So go and check him out, Jinny.
Speaker 1 (08:44):
In the song, McCartney sings the first verse in a
tone aligned with his younger naive self, new to London,
far from home, apologizing for his departure, promising to get
in touch only if he has something to reports.
Speaker 4 (09:03):
So sorry we have.
Speaker 7 (09:09):
With those Sorry, So I'm saying I used to hear
from him a lot, and so now I'm saying we
(09:30):
haven't heard a thing all day.
Speaker 2 (09:32):
So sorry, uncle Alba. But if anything that should happen,
Moll be sure to give a ring. It's just that
sort of dismissive thing. Pat on my head will.
Speaker 1 (09:53):
Neither speaker of the song seems to talk down to
his relatives who cannot possibly understand his fabulous new life
in the city.
Speaker 4 (10:03):
Yeah, I just imagine him now as a character there
is Uncle Ab're so.
Speaker 2 (10:08):
Sorry, but we haven't done a bloody thing all day.
Speaker 4 (10:11):
And now I go into character now and am now
some sort of very arrogant poshtar.
Speaker 2 (10:18):
Now I'm also sorry, Oh, glam I'm not a bloody
thing all day, you know.
Speaker 4 (10:22):
So I live on another life here and I'm afraid,
you know, I'm dismissing you.
Speaker 2 (10:29):
So the act, the shift and accent is enough. I'm
trying to remember, Now, how do you do this? Yeah,
that's right here.
Speaker 1 (10:52):
By the time Paul McCartney wrote the song Uncle Albert
in nineteen seventy, even the shine of London had worn off,
the stodgy business meetings, the decline of the Beatles, fame
and glamour losing their luster. The band had once carried
the playful, spontaneous energy of their hometown, but at the
(11:17):
end of the decade this playfulness had fizzled out. Once again,
McCartney would have to create a new life.
Speaker 8 (11:38):
So then it goes into hands across the water across
This is more now bringing it, this is more Me
and Linda, Hands across the water you know, American and
British heads across the sky.
Speaker 1 (11:53):
I like that which a lot of hands across the water.
Speaker 2 (11:55):
It heads across the sky.
Speaker 6 (11:58):
It's interesting, it works for Anglo American.
Speaker 2 (12:04):
Yeah, sort of thing, couldn't get the same.
Speaker 1 (12:15):
As the song shifts into a kind of carellesque nursery rhyme,
another character enters the scene. This is William Bull Halsey,
an admiral in the American Navy during the Second World War,
and who you could tell from interviews wasn't an especially
nursery rhyme like character.
Speaker 4 (12:36):
We're not down, are planned. We have burned them. We
have drowned them, and I just planned to bury it.
Speaker 8 (12:45):
Are drowned?
Speaker 2 (12:47):
It does Halsey in any particular? Is that a historical
I don't know where I got any more Halsey from.
I wouldn't just read it or heard it somewhere.
Speaker 4 (12:57):
And then now I'm I'm in this arrogant of a
class person who's got into the song, and I'm just
having fun with it.
Speaker 2 (13:06):
I like that, Yes, he goes, So it's a play.
It basically, it's a little play, not elect.
Speaker 4 (13:13):
But I suppose if this was a play, you could
give these lines to different characters.
Speaker 2 (13:21):
Notified me I couldn't get to say I had another
link and I.
Speaker 3 (13:27):
Had a cup of bee and the butter pie.
Speaker 1 (13:34):
Admiral Holsey needs a birth to get to sea, but
the narrator is ignoring him, is too busy having a
cup of tea and some butter pie.
Speaker 2 (13:48):
The botter wouldn't also put it in the pie. I
like that.
Speaker 1 (14:03):
Amid the bleak negotiations surrounding the Beatles and the impossible
ability of returning home to Liverpool, McCartney found the humor
and lightheartedness he remembered from his extended family in his
new wife, Linda Eastman.
Speaker 2 (14:26):
But these this little little beer trips you get around.
This is me and Linda at that time, and this
is sort of what we did. Ye what did you do?
I was saying we wanted to escape the rigid systems
we were living in.
Speaker 4 (14:44):
Mine was apple business, Alan Cline takeovers all of that.
Speaker 2 (14:52):
And I always I wanted to buy my own Christmas tree.
I didn't want the office to send a Christmas tree
around for it. That's a great, great webn't it. I
started actually doing.
Speaker 4 (15:04):
That, or chapping one down in the forest in the
back of the land ro it's not as strong as
a rebel, but we're rebellious rebels with a sense of humor.
Speaker 2 (15:24):
That we were doing all sorts of things like that
would involved.
Speaker 4 (15:27):
With like the animal activists getting on Christmas tree. Then
it would be cooking and stuff. We go vegetarian, and
now she's going to figure out how we do Christmas turkey.
So we do a macaroni turkey. It's like mac and cheese,
but it goes solid and then we'd slice it and
we'd have that as a macaroni turkey.
Speaker 1 (15:52):
Paul and Linda managed to cut free and establish not
only a new family, but a creative partnership. The song
Uncle Albert, credited to the Husband Wife Doo, was number
one on the American charts. In their new, more bohemian lifestyle,
(16:24):
Paul and Linda could also establish the family life they wanted,
filled with joyous humor and fun. It was perhaps this
experience raising children on the farm that inspired McCartney to
write about his extended family back in Liverpool, his uncle Albert,
(16:44):
who had countered the war with a similar sense of humor.
Speaker 4 (16:49):
There was a good up from me, and I thought
everyone's families were like that, John. I'm here about his
family life. It was like, yeah, so I really praised
my family for that.
Speaker 2 (17:04):
It was so rich. It really was rich. And I
think of what I am and.
Speaker 4 (17:10):
A lot of what I write about a lot of
what I think is that. And I often say I've
met a lot of very amazing influential people in the world.
Speaker 1 (17:23):
Yeah that'ch a Barack Palmer, you know, the one and only,
Sir Paul McCartney.
Speaker 2 (17:31):
Thank you so much. Oh, some of my li.
Speaker 4 (17:35):
Family I think was better. They just had something going
for them. Besides this niceness and besides this good maness.
Sense of humor was ridiculous. They were always being funny.
And my theory is because they just got out of
a bloody war.
Speaker 2 (17:56):
Unlike a lot of their friends, they just escaped being bond.
Speaker 3 (18:15):
We're so sorry, but we had a day old day.
We're so sorry, Uncle album.
Speaker 2 (18:30):
Day Heaven.
Speaker 1 (18:32):
We'll be sure, Uncle Albert Admiral Holsey from Paul and
Linda McCartney's nineteen seventy one album Ram, but we.
Speaker 2 (19:02):
Have a plentyday.
Speaker 3 (19:07):
We're so sorry.
Speaker 2 (19:16):
Tomorrow were.
Speaker 1 (19:20):
Away in our next episode.
Speaker 4 (19:44):
And if I said.
Speaker 3 (19:47):
I really knew you, well, what would your answer be?
Speaker 4 (19:54):
If you read a day.
Speaker 1 (20:01):
Here Today a love song to John Lennon, had a
conversation that never took place. McConn Cockney A Life in
Lyrics is a co production between iHeartMedia NPL and Pushkin
Industries
Popular Podcasts
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations.
The Nikki Glaser Podcast
Every week comedian and infamous roaster Nikki Glaser provides a fun, fast-paced, and brutally honest look into current pop-culture and her own personal life.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.